Thread: LGBTPQ insanity: 11-year-old “Desmond Is Amazing” dances like a stripper at gay bars

Another Pandora's Box opened by the lousy DemonRats destroying our country!!!

breitbart.com

Vermont to Allow Transgender Sex Reassignment Surgeries for Children

Facebook now demands you endorse the mutilation of children or be banned from its platform


(Natural News) When it recently came to our attention that Facebook banned Natural News for content that was never even shared to Facebook, we quickly realized that Big Tech has amassed far more power over online speech than we could have imagined. And it's now becoming chillingly apparent that Facebook is also gearing up to go after folks … [Read More...]

Public education in America has sunk so low it is now nearly indistinguishable from pedophilia indoctrination


(Natural News) Thanks to the Left’s multi-decade campaign to completely take over the American primary education system, the “pop culture,” the entertainment industry, and the Washington federal bureaucracy, the mainstreaming of what used to very obviously be considered ‘deviant’ behavior is nearly complete.The Left’s adult infatuation … [Read More...]

Teen Vogue pushes sex work, anal sex on children


(Natural News) Teen Vogue has become the subject of scrutiny after an April article promoting sex work to teens surfaced in conservative circles online.(Article by Peter D'Abrosca republished from BigLeaguePolitics.com)“Sex workers must be affirmed through upholding and the protection of their human rights to autonomy, dignity, … [Read More...]

IN A CHURCH ???



Cincinnati.com

Drag queen Sparkle Leigh brings LGBT storytime to Cincinnati church

newson-24.com

Study Claims Transgenders Suffering Because Straight People Aren’t Dating Them – News On-24

This is the Socialist idea of a "theatrical" play. Really infuriating actually.



theguardian.com

Sex, sheep and terror: the scandalous theatre of Milo Rau

​Laura Cappelle

He has put an Isis fighter’s mother in the Ghent Altarpiece and restaged a murder. Now the Swiss director plans to get radical

Mon 8 Oct 2018 01.00 EDT Last modified on Wed 30 Jan 2019 00.09 EST




Open-minded … choir children watch the Adam and Eve scene in Lam Gods. Photograph: Michiel Devijver

When Milo Rau first saw the Ghent Altarpiece, one detail leapt out at him. While Hubert and Jan van Eyck’s 15th-century masterpiece is often admired for the ambitious scale of its Lamb of God scene, the Swiss theatre director zoomed in on Adam’s sunburnt hands. “They are red because the model came directly from the fields to be painted,” he says the morning after the premiere of his new Altarpiece-inspired production, Lam Gods. “It’s art as a collective process, made with common people.”
It is a philosophy Rau is attempting to apply to an institution he has long decried as elitist and preoccupied with the classics: the city theatre. Starting this season, the 41-year-old is now the director of one of Belgium’s foremost venues, NTGent, and has kicked things off with a community-oriented production. Lam Gods is the Dutch name of the Altarpiece, on display at St Bavo’s Cathedral near the theatre, and Rau brought 21st-century models to the stage to reinvent, through a video installation, the biblical figures and characters painted by the Van Eycks – Ghentians from all walks of life.
“I wanted to have a song for the common man, so everybody understands: this is my theatre, my city,” Rau says. While he made a name for himself with provocative independent work that questioned reality, from re-enactments of international trials (The Congo Tribunal, The Last Days of the Ceauseșcus) to explorations of paedophilia (Five Easy Pieces) or the Rwandan genocide (Hate Radio), he felt as if he’d “come to a limit” with his production company, the International Institute of Political Murder. “And I thought: like Godard says, you can only criticise bad films by doing a better film.”

‘You have to be international and local at the same time’ … theatre director Milo Rau before a reproduction of the Ghent Altarpiece. Photograph: Michiel Devijver

To this end, in May he published the Ghent Manifesto: a list of 10 rules that all NTGent productions are required to follow. “It’s not just about portraying the world any more. It’s about changing it,” the first reads. It dictates that classic plays are forbidden, unless the source text represents no more than 20% of the final product; at least two actors on stage must be amateurs; each production must tour internationally, among other requirements.
Rau acknowledges, with a laugh, that an artistic manifesto sounds slightly old-fashioned. “But technically, when you follow the manifesto, you will have the city theatre you want. The structure will change.” La Reprise. Histoire(s) du Théâtre (I), Rau’s recent, stunning production inspired by the murder in Belgium of a young gay man, Ihsane Jarfi – which combined a realistic re-enactment of the crime with illuminating commentary on the process of adapting it for the stage – was a “totally pedantic” demonstration that the manifesto can work, the director adds wryly.


Rau’s Five Easy Pieces explored paedophilia. Photograph: Phile Deprez The rules are a perfect example of the mix of artistic bravado and marketing savvy that has kept Rau firmly in the European spotlight. He doesn’t mind controversy: spontaneously, he lists the handful of mini-scandals that have broken out since his arrival in Ghent. First, there was the dissolution of NTGent’s permanent ensemble, in order to ensure more diversity on stage (“If you want to have a more diverse ensemble, you have to say bye-bye to the old men”). Then Rau ran an ad calling for former Islamic State fighters to appear on stage in Lam Gods, which prompted a debate all the way to the Belgian parliament.

In the end, NTGent apologised for the ad and Rau opted not to cast former jihadists, although one appears in video. Instead, Lam Gods features Fatima Ezzarhouni, the Muslim mother of a Belgian Isis fighter who was killed last month. “What’s important is the milieu they come from. Suddenly you understand: these are the sons of our country. It’s a Belgian family story.” At the end of her powerful, dignified testimony, Ezzarhouni donned a veil to represent the Altarpiece’s Virgin Mary – before pulling out of further performances.
Regardless, Rau praises Belgium’s open-mindedness, and says one controversial scene in Lam Gods – in which one of two couples appearing as Adam and Eve simulate sex in front of a semi-circle of choir children, who double as the Altarpiece’s angels – wouldn’t have been possible in many countries. (In truth, the youngsters mostly looked bored.) He believes the dysfunctional Belgian state, regularly paralysed by tensions between the Flemish and Walloon communities, has made “civic society extremely strong. For generations, they’ve learned to do it themselves, somehow.

And Lam Gods, which involved meeting hundreds of amateurs and was informed by Rau’s background in sociology, is a tribute to a diverse Ghent. It brings together lifelong inhabitants, immigrants, an NTGent cleaning lady and even a shepherd who shears a sheep on stage – a gesture that is, again, artistically powerful and politically shrewd. Ghent’s mayor, the socialist Daniël Termont, gave a speech to open the season; Rau was keen to avoid the mistakes he saw his friends and peers Chris Dercon and Matthias Lilienthal, whom he calls “internationalists”, make in Germany. Dercon, a former Tate Modern director, was forced out of Berlin’s Volksbühne after protests against attempts to reinvent its identity with a global outlook, while Lilienthal will leave Munich’s Kammerspiele in 2020. “My humble interpretation is that they didn’t embrace the cities. You have to be international and local at the same time.”


‘I wanted to channel the anger’: Europe's fearless political playwrights

Rau is doing just that: rule nine says that at least one production per season “must be rehearsed or performed in a conflict or war zone”, and for Oresteia, a production inspired by Aeschylus that is scheduled for next April, he will travel with his team to Mosul, in northern Iraq, a former Isis stronghold. He acknowledges the difficulty of the project, but is unfazed. “I prefer to invest €20,000 in Mosul or in Bukavu than in Zurich or Berlin. When we did The Congo Tribunals, there was no cameraman, no production company there … You train people. Some say it’s war tourism, you just want to have your fantasy of being in danger. After doing it for 15 years now, I can say: it makes a change. A small change.” Or a giant leap, if Rau’s bold vision for theatre comes to fruition.

• Lam Gods is at NTGent until 20 October. Then touring.
• La Reprise is showing at the 2019 Adelaide Festival, 4 – 7 March.

lllllllllllllll

https://www.theguardian.com/stage/20...5hyRq94YTDHrQM

“Social justice” homosexuals actively working to contaminate the blood donor supply with blood-borne diseases, claiming safety is “discrimination”

Friday, June 21, 2019 by: Ethan Huff
Tags: AIDs, anal cancer, badhealth, badmedicine, blood, blood donors, donors, evil, gay men, gays, HIV, homosexuals, LGBT, love, LTBGQP, men's health, narcissism, narcissists, perverse, perversion, self-worship, sexually-transmitted diseases, social justice, sodomites, STDs, tainted blood, tolerance
10K Views


(Natural News) The me-centered mindset of LGBTQP cultists knows no bounds, as homosexual men in the United Kingdom are now knowingly contaminating the blood donor supply with their tainted blood in order to selfishly achieve what they perceive and demand as “equality” with non-LGBTQPs.
Even though U.K. law prohibits sodomites from donating blood if they’ve had sexual relations with other men in the past three months – the purpose of this being to protect vulnerable patients from contracting sexually-transmitted diseases (STDs) – some self-worshiping gays are reportedly lying on medical forms and donating their blood anyway – because “tolerance” and “love.”

These selfish individuals are intentionally polluting U.K. blood banks with dirty blood say that they’re doing so in order to fight “discrimination” and “homophobia.” Meanwhile, patients in need of clean blood are now being forcibly exposed to contaminants that could make them even more ill, or possibly kill them.
“When a gay man is giving blood, they have to tick a box to say that they have complied with these rules, but we have found that some are lying on that form,” warns Victoria Derbyshire, an investigative journalist who recently aired a segment on her morning news program about how LGBTQPs are putting the entire population at risk because of their extreme selfishness.
Fellow investigative journalist Ben Hunte reportedly interviewed six different homosexuals from across England, all of whom believe that they’re doing “good” by donating their possibly HIV-infected blood to blood banks in violation of the law. One of them apparently admitted that he became triggered when he first heard about the rules for donating blood, prompting him to rush out and donate his tainted blood for “social justice.”

“I grew up in a family who gave blood regularly and instilled in me that that was the right thing to do,” this anonymous individual, whom the media is referring to as “David,” told Hunte. “I did it before I started having sex with men, and I carried on doing it afterwards because, for me, that was the right thing to do.”
According to “David,” his homosexual lifestyle is “safer” than that of the heterosexual couples he knows, so in his own mind he’s fully justified in breaking the law by donating tainted blood to blood banks.
“I don’t see why I should be denied the right to help fellow people,” “David” told Hunte, whining about the “deep homophobia” that prevents promiscuous gays from forcing their questionable blood supply on people who do not pursue gay lifestyles.
Another homosexual interviewed as part of the investigation, whom reports have dubbed as “Ryan,” revealed that he’s been illegally donating his blood to blood banks for more than 10 years because it’s “not nice almost to be discriminated against.”
Just like “David,” “Ryan” has somehow justified his perverse behavior in his own mind by convincing himself that what he’s doing is “moral” because “you are helping somebody.”
It’s time to face the facts: Some homosexuals care only about themselves, even if they place others at risk of infections

What these full-fledged narcissists refuse to acknowledge, however, is the fact that the rules exist for a reason: to protect patients. But like most social justice warriors, when “David” and “Ryan” don’t get what they demand – even when there’s a very good medical reason behind the restrictions – they proceed to do what they want regardless in order to fight “discrimination” and “homophobia.”
“The main reason” why blood banks don’t accept homosexual blood, explains Su Brailesford from the National Health Service (NHS) Blood and Transplant department, is that “vulnerable patients” are the ones receiving it.
“The guidelines are there for a reason,” Brailesford stresses. “I would really encourage people to follow the guidelines, even if they don’t agree with them,” she adds, noting that sodomites are “disproportionately affected by HIV.”
“About 13,500 of them don’t know they have it and are at risk of passing on the virus,” she further warns about homosexual men, who continue to be “one of the highest risk groups” for HIV, AIDS, and other deadly STDs, as well as anal cancer.

For related news, be sure to check out Evil.news.

Sources for this article include:
LifeSiteNews.com
NaturalNews.com

https://www.naturalnews.com/2019-06-...or-supply.html

Denial of the truth and suppression of free speech. I'm thinking this suit is going to be worth at least a few million. These retarded school administrators need to pay though; NOT the taxpayers

thewashingtonpundit.com

Student Faces Reprimand For Telling Teacher There are Two Genders